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Jazz Music Vol.1 No.6 1943 0003

Jazz Music Vol.1 No.6 1943 0003

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sationaI and sociaI world of active BCHO: class thought, J . B. Priestly, in 11 news PUBLICATlONS
Going to get myself a wishbone report of the 1936 surrealist exhibition

and economic existence--and the
world of subjective fantasy. This Those bedbugs done got my goat. in London. In reply Herbert Read RECEIVED

. Going to wisb. that every bedbug wrote:
opposition creates a state of disllluie­"DISCOGRAPHY."
tude, a lack of spiritual equilibrium. Goes off and cuts his throat." " . . . that Mr. Priestley should be
which it is the business of the artist (Quoted by Campbell Holmes. made to feel. as he confesses, 'not "COLLECTORS CATALOGUE."

"Hot Jazz", March/Ap~l 1937). "MIDLAND RHYTHMNEWS."
to resolve. He resolves the contra­too comfortable', in fact, 'profoundly
diction by creating a synthesis, a One of surrealism'. greatest achieve­"JAZZ. TEMPO."
work of art which combines elements ments h1s been in the cinema (where disturbed' by our activities is exactly
But when he "JIVE TIMES."
from both there worlds, eliminates j87.7. has been incorporated as an ac­as we would have it.
goes on to ascribe te the surrealists The latest issue of "Discography" is
others, but which for the moment companiment) and although. for var­
well up to its usual standard, and
gives us a qualitively new experience ious reasons. few surrealist films have in general all kinds of moral perver­
-an experience on which we can yet been made; such productions as ' sion, he is merely indulging in the articles in it include "A Decade of dwell with equanimity." "L'Age d'Or" and "Un Chien Anda­abortive'vituperation of his kind . . " Jazz" by Stanley F. Dance and "Con­Iou" marked a great advancement iD clusions on Jelly-Roll" by Albert Mc­
Judged from this angle, the intense the medium of expression of surreal­" . . . Mr. Priestley is not per­Carthy. "Discography" with "Jazzsurrealistic content of much jazz is sonally acquainted with the Surreal­Music" was the first periodical now inimmediately apparent, and we become ism'. Writing of "L'Age d'Or", Sal­ists, in this country or any other; print dealing exclusively with hot jazz.
aware of one of the main reasons for vador Dali said~ "My general idea in
writing, with Luis Buneuel, the scena­and as a novelist he ought to have It can be obtained from Clifford H.
the incredible and disturbing mental Jones at 1lob, High Road, Willesden,
images aroused by the performances of rio of "L'Age d'Or" has been to pre­enough penetration to realise that
London, N.W.IO.
some of the fortmost jazz musicians. sent the straight and pure ' line of the least repressed of people are
"Collectors Catalogue" is obtainable
The added stimulus of gin and "weed" 'conduct' of a man who pursues love . generally the most moral .. . they from Ken Brown at 12, Bruce Road,
in the face of ignoble, humanitarian
often help considerably towards the cannot protest against the perver­I/ 6d. Note that
olh~r Iniserable Glasgow, S.L for
dream effect; both the performer and patriotic ideals, and sions of a moral code for which they the address was incorrectly given as I,
the listener are released temporarily mechanisms of reality." One scene in have no respect. But they despise Bruce Road, in our last issue.
the film shows a flllIning fir tree, an
from the reality of their actual envir­the kind of people who indulge,in "Midland Rhythmnews" can be ob­
onment and pass into the fantasy-world enormous agricultural implement, an., perversion just as much as they des­tained for 1/ 3d. from Bill Kinnell,of the surreal or super-real. archbishop, a giraffe and aome feathers 165, High Road, Chilwell, Notts. Bill
being flung for the top window of a pise people who indulge in hypocrisy
The words of many of the blues are
often, to a lesser or greater degree, house. Other scenes included the ill­. . . in shOrt the. Surrealists admit tells me that he and old friend James
Asman are getting together to form
Mean Old treating of a blind man, a dog being the disciplinary truth that, if you
surrealist. For instance the "Society for Jazz Appreciation"
Bed6ug Blues, where the words are in run over, a fa ther killing his son on have to attack a diseased body for which will publish a monthly bulletin
the spllr of the moment and an old the purpose of healing it, your own
the form of a dialogue between a voice woman having her face slapped I "Jazz Record". The subscription is
and its echo: When shown in Paris this film body should be in, a healthy state." 2/ 6d. a quarter, and P.O's. should be

VOICE: caused repeated rioting, reminiscent of To socially-conscious jazz enthus-made payable to James Asman, and

moaning in the the Dada days, and after a week it forwarded to him at 60, Milton Street,
"Something was What effect it iasts the unanswerllble logic of the sur­New Balderton, Newark, Notts. In­
corner; had to be withdrawn.
I tried my best to see. would have on the audience at, say, the realist position will be obvious, and in cidentally, Jimmy broadcasts os April
this connection it is perhaps significant I7t11 on the Forces programme between
It was the mother bedbug Leicester Square Odeon is aomewhat
that the Nazis in Germany have banned 2.30 and 3.oo-the subject it "The
Prayin' to the good Lord. difficult to imagine ...
For some more to eat I Accusations have been levelled at both surrealism and jazz, labelling Blues". both surrealism and jazz that their them as "decadent". It is perhaps in­"Jazz Tempo" is co-edited by ECHO: exponents are either charlatans or per­evitable that under a fascist regime all Johnny Rowe and Stanley Wright on Bedbugs big as a jackass verts. With regard to the first accu­art must be used as a means of glorify­behalf of the North London & South­Will bite you and stand and grin; sation. while readily adInitting that ing IInd strengthening state power. gate. Jazz Society. It appears fort­
Will drink up all the chinch poison many alleged jazz-musicians and sur­nightly and the rate is 3/ 6d. for three
Surrealism and jazz, both of which P.O's. payable to Ted Wat­
And come back and bite you again. realist_particularly in this country­months.
are phoney, tht' charge bears no exam­represent truly revolutionary develop­son, 39, Berkshire Gardens, London, ination when it is applied to Armstrong ment, are to be regarded as subversive N:I3. "Jazz Tempo" believes in
VOICE: or Bechet; Mu Emst or Magritte. and therefore dangerous to established stressing the humorous angle of jazz.
I had a quart'of moonshine
The second charge. that of perversion, authority. Political freedom, not "Jixe Times", obtainable for 1/ 2d.
Layin' on my dresser drawer
bedbugs came in and is just the kind of accusation one authority, is the necessary objective from Martin Bookson, 5, Elm Park
Two big
would expect from a respectable bour­condition for the continued develop­Avenue, London, N.I5, is published
dl'llnk it on the occasion ~f the first anniversary
And bit me 'cause th,re wasn't any geois moralist; it was used. of course. ment of both jazz and surrealism.
by that epitome of Enjlish Iniddle-of the Tottenham R.C,